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project-ibris · 6 years

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Chapter 5

Owen finds a place to stay.

Owen looked from wall to wall of the empty apartment, the light from the back windows shining into the main living room. The weather outside was cloudy and every few minutes the sun would shine through a part in the blanketed sky, but the air was still and no rain fell. As he walked further in, he could see the parking lot below from the second floor; it was spotted with clusters of trucks and cars, all the spots closest to the building had been taken.

Owen rolled his eyes, and turned away from the window to take a better look at the apartment. The walls were white with fresh paint that burned his nose, and the floor was covered in a rough carpet. To his left, a small tiled kitchen with an island glowed with overhead lights, and just beyond was the bedroom and bathroom. Spacious and even somewhat extravagant in places, the space would be perfect for most.

“How many people live in this building?” He apprehensively asked the man who was leading him to the around compound, despite knowing he wouldn’t enjoy the answer.

He was sharply dressed with a smile and name he had introduced himself with earlier, but wasn’t memorable enough for Owen to recall. “Well, you have plenty of neighbors if that’s your concern.”

Owen let out a huffy sigh. “That’s what I was afraid of.” He muttered to himself, thinking of how obnoxious loud neighbors can be. He wandered into the bedroom, his windbreaker jacket shuffling quietly as he walked. The room smelled like air fresheners and bleach, likely coming off the bed sheets, which looked stiff and scratchy.

He felt discomfort rise in his chest as he looked around. Everything, including the man, looked artificial and made his eyes feel dry. Even the hotels and the main park upheld a certain aesthetic, but a clash of too many things at once, or in this case, too many people living comfortably in one building at once, seemed claustrophobic, not to mention annoying. As much as he appreciated what this building achieved, and the consideration it would take from major players like Masrani to fund this, Owen was never a fan of unit living.

Through the wall of the bedroom, he could hear ecstatic voices and loud TV. What are these walls, paper? He frowned, feeling a little bemused by the entire situation.

He walked out and was greeted by the man’s glimmering white smile once again. “I trust everything’s to your liking?” He enquired with confidence.

“Uhh…No. Not really,” Owen grunted.

The man looked taken aback, his eyebrows furrowing in subtle confusion. “I don’t understand. Is there anything I can have fixed for you?”

“Do you have any rooms that don’t have anyone living next door?” Owen said, looking off distractedly as someone’s headlights poured in through the back window.

“Erm, no, all the vacant rooms share walls… I’m guessing you’re not too excited about that.” He said, folding his arms behind him.

“Do you have… any other place?”

“Not this far East. The apartment buildings are large, but few and far between to house as many as possible in each sector of the island.” He admitted, leaning over a little to observe his cuffed pant legs. He looked up after a moment with a weird look in his eyes. “Well…actually, there might be another place,”

Owen’s posture straightened with the pleasant surprise. “Okay,”

The man took his phone out of his pocket and began tapping and scrolling in the search for something. A couple seconds passed before he found a phone number and began to copy it down on a piece of paper. “Now-” he began, handing over the paper. “Just tell him your name and ask about the lake. If you decide you’re more interested in this place, we’ll hold on to the apartment for a couple more days, so you can just come back,” There was a sympathetic dullness in his gaze as he spoke that made Owen nervous.

As he left the unit and got back in his rental car and made the call, a confused sounding voice picked up on the other end. “…The…lake?” They said, the sound of the turn signals clicking in Owen’s other ear as he replied. They made plans to check out the other space the following day.

“Yes,” Owen sighed.

“Are, uh…all the apartments taken or something?”

–

Getting around this island is proving to be a huge pain in the ass… Owen thought, slouching back in his car seat. The windshield wiper clunked loudly from left to right in front of him. Outside, Ten off-white Jurassic World vans passed him on the intersection; dripping with the rain, their bright yellowy headlights cut through the mist ahead.

Surrounding his vehicle were dirt roads shrouded in low hanging trees and foliage, and it seemed you didn’t have to go far from the main park to be overcome by wildlife and dense jungle. However, despite the rugged untamed look of this path, it was quite crowded, being often used to furtively transport goods for distribution out of the view of guests.

As the vans passed ahead, he shifted into drive, and turned right on the intersection. The rain hit lightly with quiet taps against the windows as he drove; he cracked them slightly, and the leather seats began to spot with raindrops.

He had been driving for an hour, and if there was one thing he didn’t expect to deal with when leaving the mainland, it was traffic. The roads twisted and turned around valleys and mountains in ways that drove him completely in the wrong direction for about half of the trip, and additionally he was getting increasingly more frustrated each minute he spent stuck at an intersection. Driving was difficult enough with the heavy rain and loose soil roads; it didn’t help how convoluted the undeveloped paths were. It all seemed ironically inconvenient, but of course it wasn’t too much for him to handle. Every so often, his car ran over rough dirt or moss covered rock, causing it to bounce slightly as he drove.

When he got the car for traversing the park’s confusing underbelly, the lady at the rental counter told him it should take about half an hour to the get the lake on the East side of Nublar. However, emphasis was on the “Should”, which Owen didn’t pick up on until now. He reached his hand towards the black dashboard of the car, and clicked on the radio. The sound of quiet Spanish chatter filled the front seat, but he could only understand bits and pieces…

Another twenty minutes passed as he drew closer to his destination. This road, despite being visibly more overgrown, appeared to have recently been driven down according to the fresh tire tracks ahead. There was a landlord of sorts waiting for him at the lake where the bungalow was located, but Owen would’ve been happier to explore the place on his own if that was only advisable. The landlord’s was a necessary involvement, considering their job was disclosing info about vacant lots, and telling him the ins and outs of the bungalow he’d heard so little about.

From there, it was a straight drive down the narrow road to the lake. Weeds and grass grew up from in between the heavy tire tracks ahead, and Owen spent the last few minutes psyching himself up for conversing and answering questions with confidence and ease.

The surrounding area turned from low undergrowth to high growing trees with stretching umbrella like limbs as the road widened to a clearing. He slowed to a stop beside a smaller black car that glistened in the rain. Ahead, the grass grew so tall it reached up the stairs to the small brownish bungalow and up around the tires of the car. To the left, just behind the building, sat a white-ish trailer with black stripes coming off the front. In comparison to the bungalow, the trailer was severely lacking the same coziness, but was still charming. However, Owen didn’t remember reading about the extra living space in the email portfolio he read yesterday.

He could tell by the quiet patter of water hitting the car’s roof, that the rain had slowed significantly. Just in time, too, he thought. He grabbed his baseball cap, released the keys with a click, and opened the car door, stepping out into the wet plain of grass. Before closing the door, he reached in to the passenger’s seat, grabbing his jacket and throwing it on quickly.

He lumbered out into the clearing, the air thick with humidity and the smell of wet grass. Looking just a little to his left, a large green tinted body of water could be seen. He shot a wave to the driver’s window of the black car, and through the tinted window, the man inside could be seen fumbling with his note pad and quickly flattening his clothes and coat, before opening the door and exiting the vehicle. His hair was grey and ruffled in the breeze; he might’ve been somewhere in his forties just by estimation.

Owen reached back behind him to pull his hoodie up over his hat, further insulating himself from the chilly rain. “Hi there,” He said with a nod as the man approached.

“Good afternoon, Mister Grady,” He began; the man looked stiff and tired in the eyes. While Owen was appreciative to hear his name said with respect, being called mister or sir was never something he was super excited about. He considered offering a more casual reference, but the man cut him off. “I’m Ron Simon. How was your drive?”

Two first names, huh? Owen gave the man an awkward grin. “It was great,” He muttered in a low voiced lie, not feeling like getting into it.

On the other side of the dark sedan exited a dark haired woman who was zipping up her neon colored puffy coat. She stumbled a little through the grass, before finding her footing and making her way around.

Simon looked back towards the young woman and gestured with his pen. “That’s my protege, she’ll just be following us around.”

“I’m Kisha,” she offered in a bubbly voice. The woman’s laid-back nature and extravagant fashion quickly made him feel less uncomfortable.

Simon pulled his notepad out from the inside of his coat, doing his best to shield it from the rain with his arm. “Let’s get right into it… The land includes what you see here, the driveway, up to the dock,”

Owen looked around the man to see the dock; rickety with old warped wood, it stretched just a couple yards out into the water, including a nine-foot outcropping. At that point he’d spent long enough looking to notice how impressive the lake actually was, reaching what looked like miles away, and connecting into rivers and streams that flowed from further inland. Oh shit, sick.

“And from that tree line, to… basically that one - I won’t get into numbers since it’s complicated, and you don’t have a single neighbor.” Simon gestured from a line of short pretty shrubs located on a hill to the left, to the undergrowth and jungle trees on his right. They crept from the dip of wild grass, onto and over the lake’s shore, that rippled as rain drops hit its surface.

Owen looked up into the clouds for a moment, letting the rain hit his face. The sky was a light grey, thick storm clouds covering it for miles. Having grown up in scorched Arizona, he was always partial to a little bad weather every once in a while, especially with it being calmer now than it was while he was driving.

Simon put the notepad back under his jacket and pointed to the dark brown bungalow, “I’ll let you check out the living space and wander around. Just watch your step.”

Owen nodded in response, following the man as he walked towards the center of the clearing, Kisha shadowing as well. The three of them dodged around a tree that grew a couple feet from the stairs and reached up with dripping leaves and relatively low hanging limbs. The stairs were wide but slippery, their textured wood pooling water in the gaps and divots; Owen’s boots had enough traction on them, but he warned Kisha to be careful going up the steps.

At the top, a couple windows and a single door were faced on the front of the building. More puddles gathered on the porch, splashing quietly beneath the three’s shoes, as Owen curiously followed the walkway around the bungalow. It stopped about halfway, only reaching across the right-most wall and around the back side. There was a shelf and a storage crate resting against the outside that looked like it was water sealed.

I could keep tools in here…He thought, running his hands across the plastic the shed the water off it’s top. He greatly enjoyed tinkering with vehicles and electronics, and he knew from experience that things like power tools took up a lot of space. Once I get tools, at least.

The party made their way to the front door, Simon grabbing the key from his back pocket and opening it with a creak. The party made their way inside, shaking the water off their coats in a dog-like manner, and removing their hoods and hats. They reveled in the shelter the bungalow gave from the wet chilled breeze, as Owen took in the surrounding visual.

The bungalow was one large dark room, a little bit bigger than a shed, in exception of the bathroom that jutted out of the farthermost wall. The floor was a flat wood-like linoleum, pale brown in color. On the right and left were two windowsills that overlooked the lake and clearing, letting in the only blue-ish grey light. Also to his left was a bed frame resting against the wall, and a desk with narrow metal drawers. Directly in front of him, a small kitchen with black appliances and a two sided sink that shined in the blue light was placed in the right corner. Aside from that, the building had a decent amount of space and was curved at the top with a slanted ceiling that donned a single hanging lamp. However, it was more of a single light bulb than a lamp. As he stepped forward, dust wafted against him, causing him to sneeze loudly.

“Bless you.” Kisha and Simon said in almost unison.

“Thanks.” Owen replied with a groan, his whole body feeling the shock of the sneeze. Jesus, I’m like an old man…

Simon walked past the two of them towards a light switch, giving it the old college try by clicking it on and off about three times. Still doused in the subtle darkness, he turned back towards them, unfolding the notepad from under his jacket. “Yeah, no power yet. We can get it working by tomorrow afternoon, though.”

“Alright, that’s fine.” He said, squeezing his hat in his hands as he explored a little further. The bathroom was about six square feet, barely fitting the shower against the wall, and the toilet about three inches from the sink.

“Just don’t use the toilet, though, the water’s not running yet.” Simon hollered from the main room.

Owen frowned, “Uh, okay…” He shouted back, rolling his eyes. Why would I?

He looked into the mirror in the back wall of the bathroom, and he caught a glance of his appearance in the nearly pitch-black room. His hair was wet and somewhat streamed onto his face, but not by much. He thought for a moment he needed a haircut before rationalizing that everyone’s hair looks longer when wet. Despite that, his current lack of facial hair made him look more like he was getting his learners permit today than renting a home.

Owen rolled his eyes and stood up straight, deciding he looked fine enough; whether or not he passed wasn’t worth the internal conflict. As he exited the bathroom, Kisha was looking over Simon’s notepad and folder, appearing to be reminding him of some things. They looked up as he re-entered the room, and addressed him quickly.

“So, what inspired you to check out this area?” Ron Simon asked.

“The apartments just weren’t my thing,” Owen answered after a couple moments, somewhat distracted by his enchantment and want to investigate everything a little further. After a few minutes of Owen pacing back forth through the bungalow and eyeing the amount of free space, Simon encouraged they move on to discussing other things, such as costs. However, the conversation was short, on account of the free living on Isla Nublar aside from food and better cable packages. Owen noticed the satellite dish on top of the bungalow when he was outside, but as tempting as it was to climb on the roof for any reason, he would probably never use it, not being super big on watching TV.

They all pulled their hoodies back on and made their way back outside with resilience to the cold air. Simon was at the head of the group, making his way down the steps with ease, but Owen’s boot slipped on the slick wooden stair, missing a step before catching himself on the next one. His heart pounded as he tried to continue nonchalantly, but he could tell Kisha saw it perfectly well and was stifling a chuckle.

As he reached the bottom, he turned the corner and began circling the bungalow’s perimeter with distracted disregard to Simon’s posed questions. The whole building was about four feet off the ground at its highest, and the ground around the clearing tilted down towards the lake pretty significantly at this point. As he cleared around the back, he spotted a small tin bucket collecting the water that ran off the roof; it had likely been there for months however, as the grass surrounding it grew particularly lush and the bucket was over filled and spilling with each couple drops. He picked up the cylindrical tin delicately and took it to the lake’s edge to dump it out before returning it to its home. This was received with an odd look from the man and woman who were still standing by the stairs.

Owen strolled back to the front of the bungalow, “Sorry, I think you were sayin’ something, yeah?” He said with a deep breath. He heard the call of a couple birds in the distance as he spoke.

“Oh, yeah, you uh-” Simon mumbled, holding his notepad loosely with both hands in front of his waist, “-Actually like this place, huh?”

“Yeah.” He said quietly with a smile. Kisha chuckled and Simon looked at her and Owen in disbelief. “How old’s this place?”

“Not very; about 4 years ago it was built by a guy who was doing electrical work on the monorail over West of here.” Owen nodded, remembering driving alongside one of the monorails for a bit on his drive to the lake, as well as riding one when he first entered the park. They were enormous and strongly built, stretching hundreds of feet off the ground and transporting guests with articulate speed. “-It was a wreck; the whole thing was down for months! But a bonus: your paddock is only a couple minutes’ drive from here,” He pointed further East, “Just up there by the cliff side and the shore.”

Owen whistled; he hadn’t considered where the raptors would be houses once fully grown, but the thought of watching them run around in their own habitat made him feel happy. Plus, the shorter and less hassle of a commute across the island, the better. “Sounds good to me.” He chuckled, shuddering as, for a moment, the wind blew particularly strong.

Simon and Owen exchanged paperwork that needed signing between the two of them, including few agreements about the ownership of land and where the boundaries were located. The man informed of a relatively nearby attraction that was opening called the River Cruise, running along the water that through streams and creeks, connected to the lake at some point. However, due to the distance and relative seclusion within the valley, Owen was informed it wouldn’t get within a mile of his land. “Just something to be aware of.” Simon shrugged.

“There aren’t any other attractions nearby, right?” Owen asked. He was already happy with how quiet things were out this far from the park, and it wouldn’t be nearly as enjoyable with the hollers of guests sounding out nearby.

“No, no, if anything, you’re relatively close to the old T-Rex paddock, but nobody’s doing anything with that anytime soon…” He said, “And even that’s about the same distance as the River Cruise.”

Owen signed his name on the papers and wrote his phone number, as well as his ID number on the files. “I gotcha.” The old T-Rex paddock sounded interesting, and he considered doing some poking around up there at some point if it wasn’t a restricted area.

“Another thing,” Simon began, flipping his pen around his hand and catching it as he spoke. “I wouldn’t totally recommend swimming in the water, because as a natural lake it’s kinda dirty, but if you want to, there’s no legal reason why you can’t. Fishing is fine too, as long as you have a permit like you’d need anywhere else. Also, those over there.” Simon pointed past the pale trailer and towards the skinny shrubs that lined the boundary to the forest beyond. “Naturally, they’ll get plenty of moisture when it rains, which it does regularly on Nublar. They’re around a year old- the guy who lived here last planted them- but you have to water them during dry seasons or heat waves, which…also happens regularly on Nublar…”

Owen felt a rising ambition to take great care of the young trees. This place has everything! He thought, making a plan to include watering plants to his phone’s calendar.

“Alright,” Simon looked excited to get back in the car, as he put the pages and forms back in his folder. “That’s that-”

Taking a glance back at the bungalow, he noticed the glistening white trailer, that Simon seemed to actively ignore throughout the tour. There was something about it that drew his attention, perhaps because the man avoided it so persistently. “Wait,” Owen cut him off, “What about the trailer?”

Ron Simon looked at the trailer with squinted eyes and a grimacing sigh. He flipped through the file on the land, which was littered with notes attached by paperclips. “Uhh, so…okay, it’s unlocked, and since you live here now, it’s yours, but…the guy who lived here before brought it here, and didn’t take it or any of his stuff when he disappeared.” He explained with a shrug. “Nobody really knows where he went, and nobody’s gone in there to clean it either…we weren’t prepared for anyone to be interested in living here anytime soon.”

Owen’s eyebrows raised, “What happened to him?”

Simon shrugged again, looking off towards the trailer. “Like I said, nobody’s sure.”

“And his stuff’s still in there?”

“Well, we assume…”

Kisha interjected, nudging Simon’s shoulder. “C’mon, dude, you’re really selling this place.”

Owen let out a breathy laugh and said “Well, that’s pretty gross but I’ll take it,” finding it both funny and crude. He actually was excited about the idea of the extra space however and hoped it wouldn’t be too much trouble to clean out. Even if it was a mess, so was he and he was in no place to judge.

Simon grimaced, tossing his files somewhere into the open car door, and reached out to shake hands. Owen obliged as the man thanked him for doing business with him. Kisha gave him a friendly wave as she got into the passenger’s side, and Owen made the effort to smile and wave back.

The sun was lowering slightly in the sky as the two pulled out of the clearing and left for what Owen assumed was home. He walked over to the edge of the water and sat down, the grass bending out from underneath him and arching over his shoes. Once again, he took off his hood and hat to enjoy the cold rainfall on his head, that was only a mere sprinkle now. He had only been on Isla Nublar for a grand total of eight days; those raptors were growing stronger, and while he hadn’t been able to stop in and see them that day or the one before, his thoughts were always on them and their health. Wherever this paddock is, he reasoned, it better be pretty tall to keep those girls in when they get to jumping three times their height.

However, as much as Owen thought about their care, his co-director seemed distant most days, not showing much effort to understand the animals like Owen did. Maybe it came from a place of confidence, but he couldn’t imagine in the zealousness Vic spoke with, there was actual experience with the dinosaurs themselves. Though through some conversation, Owen found out that Hoskins was actually in charge of recollecting the dinosaurs on Nublar to be used in the park’s attractions back when Masrani Global first acquired the islands for commercial use. The man went in depth on the mission to capture the wild T-Rex, that they subdued with nets and tranquilizers one stormy night all those years ago. Owen was impressed in ways, but disturbed in others, internally considering a way they could have made the same achievement without causing so much stress on the Rex.

Aside from that, Owen often felt unheard and lost in his discussions with Vic. Plus, it seemed like he had some hidden expectations that Owen just couldn’t figure out. The whole experience was exhausting and frustrating, but if nothing else, he had the raptors he could look forward to seeing. They were recently moved into the pale green and comparative openness of the EnviStim, and he could tell how happy they were to stretch their legs and click their sickle claws on hard ground. They stood about 4 inches tall and were healthily plump and well fed. Owen smiled at his last memory of the three of them, running together in a circle around the room and pouncing as high as they could.

Coming out of his trance, he leaned forward, putting his hands under the lake’s surface to test the temperature, which was pleasantly warm despite the chilled air. The sky was turning a dark blue, and through the shifting clouds he could make out the moon, that grew brighter as the sun set behind him. He’d have to make his way back to the resort soon, but as he rested for a few moments longer, he felt halfway content, filled with a sort of peace invoked by the nature around him.

#Owen Grady #project ibris #ibris #jurassic world #jurassic world fanfic

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toldnews-blog · 5 years

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New Post has been published on https://toldnews.com/travel/art-review-at-frieze-new-york-islands-of-daring/

Art Review: At Frieze New York, Islands of Daring

Getting into this year’s Frieze Art Fair on Randalls Island will cost you $57, plus the round trip on the ferry. But that’s nothing compared to what it cost nearly 200 galleries to exhibit there. And so dealers have made the reasonable decision to bring a little of everything that sells — which may account for the conservative vibe. That said, there are many islands of daring, including special sections focused on solo presentations, small galleries, the influential gallery JAM and virtual reality. We sampled them all — along with the mainland fairs that are part of Frieze Week. Our art critics Martha Schwendener and Will Heinrich pick a handful of the best booths under Frieze New York’s big tent.

Booth C2

Bridget Donahue and LC Queisser

One of the strongest single-artist booths is a joint presentation by Bridget Donahue Gallery and LC Queisser, who represent the artist Lisa Alvarado in New York and the Republic of Georgia, respectively. Ms. Alvarado made her acrylic-on-canvas pieces, each painted with a thrilling zigzag pattern, as backdrops for performances by the Natural Information Society, in which she plays the harmonium. If the fair’s not too loud, you’ll be able to hear the band’s hypnotic music, too. WILL HEINRICH

Two exceptional but very different displays are on view in the fair’s midsection. At Casey Kaplan gallery, Matthew Ronay’s carved wooden sculptures, pieced together into abstract, evocative organic configurations in various coral hues, are placed on plinths and feel like an oasis amid the fair’s chaos. (Mr. Ronay also has an exhibition on view at Kaplan’s Chelsea location.) Martine Gutierrez continues her rampage as the Indigenous Woman, a transgender alternative-fashionista at Ryan Lee. In photographs and faux-fashion spreads, Ms. Gutierrez combines traditional Mayan and Guatemalan garments and fabrics with fantastic and futuristic accessories and makeup to conjure new, fluid forms of being. MARTHA SCHWENDENER

Booths F6, F12 and F14

Company, Bank and Very Small Fires

The Frame section of Frieze, devoted to galleries 10 years or younger, is particularly good this year. Befitting the ethos of the emerging artists they represent, the booths are platforms for performance or installations, with linoleum or AstroTurf covering the floors. The New York gallery Company is hung with paintings by Jonathan Lyndon Chase that feature roughly drawn figures or graffiti, as well as crude sculptures of a toilet seat or a dollar sign. Yanyan Huang treats the booth at Bank, a Shanghai gallery, as an “immersive portal” (according to a handout) in which traditional ink drawings merge with digital applications. Nearby, Diedrick Brackens’s colorful tapestries at the Los Angeles gallery Various Small Fires join traditional materials with references to figures like African-American cowboys. SCHWENDENER

The Tehran gallery Dastan (appearing here as Dastan’s Basement) has hung more than 50 portraits by the artist and architect Bijan Saffari. A member of the royal family who left Iran for Paris after his country’s 1979 revolution, Mr. Saffari was also gay, which made his position doubly precarious. The portraits are rather simple and conservative, drawn in graphite and colored pencil. And yet they are sensitive and closely observed, and they gain by their group presentation, appearing like a narrative of his circle of friends in the ’70s and ’80s. There is an elegiac tone to these drawings; the artist died days before the current edition of Frieze opened. SCHWENDENER

Booths B36 and F9

David Lewis and Antoine Ertaskiran

In a fair dominated by painting, David Lewis of the Lower East Side and Montreal’s Galerie Antoine Ertaskiran, making its Frieze debut, stand out with presentations that could pass for gallery shows. Four cool acrylics by New York painter Charles Mayton, at Lewis, feature schematic eyes and hands in jazzy mash-ups of shelves, bars and circles. Jane Corrigan’s large wet-on-wet paintings of women on the go, at Ertaskiran, are exquisite brown and yellow collisions of impatience and poise. HEINRICH

Booths A11, B32, C7 and D1

Foxy Production, Simone Subal, Rachel Uffner and Galerie Lelong

Several New York galleries have mounted outstanding painting displays in which artists bend the medium in a variety of ways. At Foxy Production, Srijon Chowdhury, Gina Beavers and Sascha Braunig offer reinventions of Gothic romanticism, surrealism, Op or Pop Art. Simone Subal is showing the work of Emily Mae Smith, whose paintings are slick and whip-smart updates and appropriations of posters from the ’70s and ’80s. Maryam Hoseini works both on and off the wall at Rachel Uffner, but combines abstracted Persian imagery or techniques with contemporary painting. Sarah Cain’s take on painting at Galerie Lelong offers candy colors, cutouts and a floor flooded and stained with pigment. They remind you of paintings’ origins — in childhood — and suggest a kind of joyful, delirious regression. SCHWENDENER

Booths S4, S10 and S11

Galerist, Galeri Nev and Pi Artworks

The fair’s outstanding Spotlight section, curated by Laura Hoptman of the Drawing Center, is dedicated to “significant work by overlooked figures.” They include Yüksel Arslan, a Turkish painter born in 1933 who moved to Paris at the invitation of André Breton and died in 2017. His “Arture 439, Sans Titre, l’Homme,” from 1992, in a joint presentation by Turkish galleries Galerist and Galeri Nev, is a gloriously strange gallimaufry of interspecies sex acts and quotations from the artist’s scientific reading, drawn with homemade colors. Susan Hefuna makes ink drawings inspired by the intricate wooden screens of her Cairo childhood. The examples presented by Pi Artworks of London and Istanbul are done on overlapping sheets of tracing paper fastened with rice glue. The multitude of tones and textures create a fascinating tension between clarity and ambiguity — the drawings are like letters of a foreign language glimpsed in a dream. HEINRICH

The Diálogos section of Frieze includes solo presentations of Latin American art, organized by Patrick Charpenel and Susanna V. Temkin of New York’s El Museo del Barrio. I was particularly taken with Mariela Scafati’s hybrids of paintings and sculpture at the Buenos Aires gallery Isla Flotante. Ms. Scafati takes wooden bars where canvas is stretched and treats them like bones, joining the parts together in puppetlike configurations, sometimes bound or “wearing” a jacket or a pair of pants. SCHWENDENER

Booths B9, B10 and B20

lokal_30, Koenig & Clinton and Kate Werble

A vibrant knot of color and form awaits you at the intersection of New York’s Koenig & Clinton and Kate Werble galleries and Warsaw’s lokal_30. From Poland come three painters exemplifying postwar and contemporary Surrealism, among them the young Ewa Juszkiewicz, who repaints classic portraits of women, but hides their faces with cloth, ears of corn or a backward French braid. They evoke feminism, dream logic and implicit violence. Tony Marsh’s over-the-top ceramic vessels, encrusted in what look like shards of glaze, meet the eye-bending optical paintings of Anoka Faruqee & David Driscoll at Koenig & Clinton. Marilyn Lerner makes delicately complicated oil-on-wood abstractions at Kate Werble; don’t miss the unlabeled low tables by Christopher Chiappa, also in Werble’s booth. HEINRICH

There’s something magical about William T. Williams’s early 1970s “Diamond in a Box” paintings, hard-edged geometric patterns in blazing colors. The subtle misdirection of those patterns, and the complicated rhythm of the colors, mean you could look at them forever. Michael Rosenfeld presents a dozen never-before-shown acrylic-on-paper works from the same period. In these, a wiggly meander snakes in and out of concentric circles filled with vibrant brush strokes — they’re like Bauhaus takes on the Aztec calendar. HEINRICH

Booth F18

PM8

Spanish gallery PM8 presents 80 black-and-white photographs by the Lithuanian photographer Gintautas Trimakas, shot in the mid-90s and hung in three long rows. The piece shows 80 women with their heads and legs cropped out. Though the backgrounds range from white to nearly black, and the clothing and body types are all over the map, the typological presentation wears away these differences and leaves the figures all looking more or less interchangeable. It’s a deeply cynical take on both the consumerist Western freedoms available to Lithuanians after their 1990 independence and on the fate of all human bodies — the women aren’t so much living people as corpses in waiting. HEINRICH

V.I.P.s have access to the Deutsche Bank Wealth Management Lounge at Frieze New York. But nearly everyone can benefit from PPOW’s display of paintings by Steve Keene, which are on sale for $15 to $50. Mr. Keene was heavily influenced by indie rock bands in the early 1990s — his friends in Pavement, Silver Jews and the Dave Matthews Band — and the idea of selling quick, sketchily rendered paintings like cassette tapes. Using a stage in PPOW’s booth as a pop-up studio, he will produce hundreds of paintings on thin plywood panels — they are part endurance performance, part public art stunt. The vibe feels like one in a record store during an album release party. SCHWENDENER

Frieze New York

Through May 5 at Randalls Island Park; frieze.com. Tickets are limited and only available online.

#n i travel news #travel news a47 #travel news leicester #travel news london #travel news m55 #travel news uae

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dangkynhanhieusanphamcom · 5 years

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What to Wear, According to the Spring 2020 Catwalks

PARIS — As the four-city fashion cavalcade comes to an end, here’s a look at some of the catwalk styles from New York, London, Milan and Paris that could sharpen your wardrobe next spring.

Get Shorty

Long shorts, a rare sight on women IRL, are a staple for street-style stars — so much so that Vogue has referred to them as a summer solution to “dressing professionally without overheating.” This season designers tried even harder to convince us of their staying power, suggesting that the bigger, more Bermudas-like the shorts, the better.

At Max Mara they came in monochromatic pastels accessorized with matching ties, and at Tod’s they ran long, in chocolate brown, with an equally outsize blazer to match. At Bottega Veneta the creative director Daniel Lee drifted into basketball territory, with thigh-length black shorts shown with the latest iteration of his sold-out quilted mules. At Chloé Natasha Ramsay-Levi layered a similar version over creamy silk bloomers and a bustier.

Indeed, layering was a mainstay of the trend for spring 2020. See the safari-style shorts over pants at Chalayan, the shorts suits with long socks at Altuzarra and the embroidered denim culottes with knee-high boots at Celine. We call them long story shorts.

Bag It Up

In New York, Sies Marjan and Proenza Schouler went supersize, with space for every essential. The XXL trend continued in Milan, where Bottega Veneta showed giant slouchy cross-strap leather bags and Hugo Boss had canary yellow drawstring backpacks. At Fendi, models came down the runway swinging capacious maxi totes.

In Paris, Stella McCartney introduced giant woven circular baskets, and Lanvin gave hardy luxe duffels an update. What could it all mean? Micro bags may still be around, but jumbo accessories create the bigger impression.

Cut It Out

Fashion will poke holes in anything. Rarely, however, has that act felt as literal as it did this season, with gaps, perforations and cutouts on runway after runway. Sometimes they were subtle, as in the circular cutouts that danced on models’ hips at JW Anderson or in the delicate slices of flesh on display at Gucci and Marni.

At Off-White a Swiss cheese motif permeated the entire collection, on handbags and boots and T-shirts (not to mention in the hole created from the absence of its creative director Virgil Abloh). The stark bare shoulders and midriffs at Haider Ackermann and Saint Laurent were smart graphic plays around negative space. There is power in absence, after all.

Brighten Up

Be it as a sunny counterpoint to gray fall skies or an antidote to relentlessly gloomy headlines, orange has emerged as the dominant color of the season. Simple dress silhouettes in warming tangerine shades shone at Eckhaus Latta and Emilia Wickstead, as did corals at Valentino and Gabriela Hearst. At Prada a neon double-breasted coat with pale blue embroidery was bold enough to stop traffic.

More mellow variations could be found in the saffron minis at Christopher Kane and a head-to-toe 1980s-inspired apricot look at Isabel Marant. For the faint of heart, remember that fortune favors the brave.

That 18th-Century Show

In Paris, 15 miles from the gates of Versailles, a riot of 18th-century regalia ruled the runways: intricate lace collars and stiff panniers at Loewe, an extravaganza of pouf skirts and jacquard bloomers at Comme de Garçons and cutaway brocade frock coats at Dries Van Noten. In London, Richard Quinn showed off bold shoulders and lavish floral volumes, and Simone Rocha’s delicate ruffles took fantasy to new heights.

Occasionally the Age of Enlightenment attire acquired a more contemporary twist, as in the refashioned basics at Yohji Yamamoto or the suit-and-tie trompe l’oeil on corseted silhouettes at Thom Browne.

Still, designers across all four fashion cities seemed keen to celebrate the pageantry of European royal courts, where gender lines could be blurred and dramatic shapes and textiles embraced.

The post What to Wear, According to the Spring 2020 Catwalks appeared first on NEWS - EVENTS - LEGAL.

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biofunmy · 5 years

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What to Wear, According to the Spring 2020 Catwalks

PARIS — As the four-city fashion cavalcade comes to an end, here’s a look at some of the catwalk styles from New York, London, Milan and Paris that could sharpen your wardrobe next spring.

Get Shorty

Bag It Up

Cut It Out

Brighten Up

That 18th-Century Show

Still, designers across all four fashion cities seemed keen to celebrate the pageantry of European royal courts, where gender lines could be blurred and dramatic shapes and textiles embraced.

Sahred From Source link Fashion and Style

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#IFTTT #WordPress

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jamiekturner · 7 years

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Books For Graphic Designers To Read in 2017

Graphic designers come in all shapes and sizes and vary from amateur to professional statuses.

Whether a Photoshop novice or an experienced calligraphy genius, there is always something to be learned in the world of graphic design. The beauty of this art comes from its constant learning process.

No matter who’s doing the research, a graphic designer will surely find nothing but extended information on which to build a more impressive portfolio, or to find out how other designers are using certain design styles.

If someone is new to the world of design, they may wonder where to obtain all of the information to get them started. Or perhaps you’re an experienced designer and would like to enrich your knowledge resume. Where do you find it?

Sure, an online blogger’s opinion can be incredibly helpful, as is the website created for this specific field. We still find it most engaging to open a book. There’s something to be said about the good old-fashioned snail read as there seems to be more thorough research throughout.

Below is a list of books for graphic designers that have been dubbed must reads in the design world.

How to be a Graphic Designer, without Losing Your Soul

Graphic designers constantly complain that there is no career manual to guide them through the profession. Design consultant and writer Adrian Shaughnessy draws on a wealth of experience to provide just such a handbook.

Aimed at the independent-minded, it addresses the concerns of young designers who want to earn a living by doing expressive and meaningful work and avoid becoming a hired drone working on soulless projects. It offers straight-talking advice on how to establish your design career and suggestions – that you won’t have been taught at college – for running a successful business.

This revised, extended edition includes all-new chapters covering professional skills, the creative process, and global trends, including green issues, ethics and the rise of digital culture.

Making and Breaking the Grid

For designers working in every medium, layout is arguable the most basic and most important element. Effective layout is essential to communication and enables the end user to not only be drawn in with an innovative design but to digest information easily.

Making and Breaking the Grid is a comprehensive layout design workshop that assumes that to effectively break the rules of grid-based design one must first understand those rules and see them applied to real-world projects

The Elements of Graphic Design

This very popular design book has been wholly revised and expanded to feature a new dimension of inspiring and counterintuitive ideas to thinking about graphic design relationships.

The Elements of Graphic Design, Second Edition is now in full color in a larger, 8 x 10-inch trim size, and contains 40 percent more content and over 750 images to enhance and better clarify the concepts in this thought-provoking resource.

The Ultimate Guide to Creative Cloud

Want to supercharge your creative workflow? Want all your apps to work in sync? Want to easily publish to multiple platforms and devices at the same time without any hassle? We thought so.

In this book – The Ultimate Guide to Creative Cloud – you’ll discover how to use the power of Adobe Creative Cloud to work faster, smarter and deliver your projects faster and in more style.

Designing Brand Identity: An Essential Guide for the Whole Branding Team

Whether your goal is to express a new brand or to revitalize an existing one, here is a proven, universal five-phase process for creating and implementing effective brand identity. From research and analysis through brand strategy, design development through application design, and identity standards through launch and governance, Designing Brand Identity is an essential reference for the entire process.

Enriched by new case studies showcasing successful world-class brands from Herman Miller and General Electric to the Obama ’08 election campaign, this Third Edition offers new insights into emerging trends such as sustainability and social networks.

Graphic Design Manual

This newly revised book was first published in 1965. Elements of image and form are analysed and examined with regard to their inherent laws. The lessons of methodical design are used today in computer monitor design as well.

The desktop publishing technique requires very clear conceptual and methodical working processes. This book, which is divided into computer-system-friendly sections, will thus serve this new circle of users as a valuable introduction.

Type, Volume 1: A Visual History of Typefaces and Graphic Styles

This book offers a novel overview of typeface design, exploring the most beautiful and remarkable examples of font catalogs from the history of publishing, with a special emphasis on the period from the mid-19th century to the mid-20th century, when color catalogs were at their height.

Taken from a Dutch collection, this exuberant selection traverses the evolution of the printed letter in all its various incarnations via exquisitely designed catalogs displaying not only type specimens in roman, italic, bold, semi-bold, narrow, and broad, but also characters, borders, ornaments, initial letters and decorations as well as often spectacular examples of the use of the letters.

Designing For Social Change: Strategies for Community-Based Graphic Design

Some call it design for the greater good. Others call it social design. Whatever you call it, it’s clear that an altruistic impulse is on the rise in the design community.

The latest addition to the Design Briefs series, Designing for Social Change, is a compact, hands-on primer for graphic designers who want to use their unique problem-solving skills to help others.

Author Andrew Shea presents ten proven strategies for working effectively with community organizations. These strategies can frame the design challenge and create a checklist to keep a project on track.

Thinking with Type

The organization of letters on a blank sheet — or screen — is the most basic challenge facing anyone who practices design. What type of font to use? How big? How should those letters, words, and paragraphs be aligned, spaced, ordered, shaped, and otherwise manipulated?

In this groundbreaking new primer, leading design educator and historian Ellen Lupton provides clear and concise guidance for anyone learning or brushing up on their typographic skills.

Graphic Design Thinking

Creativity is more than an inborn talent; it is a hard-earned skill, and like any other skill, it improves with practice.

Graphic Design Thinking: How to Define Problems, Get Ideas, and Create Form explores a variety of informal techniques ranging from quick, seat-of-the-pants approaches to more formal research methods for stimulating fresh thinking, and ultimately arriving at compelling and viable solutions.

In the style with which author Ellen has come to been known hands-on, up-close approach to instructional design writing brainstorming techniques are grouped around the three basic phases of the design process: defining the problem, inventing ideas, and creating form. Creative research methods include focus groups, interviewing, brand mapping, and co-design.

Stationery Design Now

Whether you’re starting your own business or simply trying to stay in business, three paper-based items are absolutely crucial to your company: letterhead, envelopes, and business cards. These items, along with your logo, are the pillars of a well-defined corporate identity.

Though seemingly ephemeral, the subliminal communications value of elegant stationery cannot be overestimated. The best stationery works hard for you, front-loading your corporate or freelance image, and conveying your company values in the most tangible way.

The Portfolio Handbook

Portfolios are a bitch to make. Thats why we wanted to help. It’s been a while since we were sophomores, but we never forgot the emotional roller coaster of trying to get our first job (we still go through it).

Looking back, we wish we would have known what we know now. This book is for you: a collection of our knowledge passed down to you in the hopes that you become better designers, better professionals, and better people.

Just My Type: A Book About Fonts

A delightfully inquisitive tour that explores the rich history and the subtle powers of fonts.

Fonts surround us every day, on street signs and buildings, on movie posters and books, and on just about every product that we buy. But where do fonts come from and why do we need so many?

Who is behind the businesslike subtlety of Times New Roman, the cool detachment of Arial, or the maddening lightness of Comic Sans (and the movement to ban it)? Simon Garfield embarks on a mission to answer these questions and more, and reveal what may be the very best and worst fonts in the world.

Package Design Workbook

This comprehensive guide provides designers with a thoughtful packaging primer that covers the challenges of designing packaging for a competitive market in a very hardworking and relevant way.

Package Design Workbook addresses all aspects of the creative process including choosing a package format, colors and materials, final finishes, and special considerations such as awkward objects and unique display considerations.

This book breaks down the process of design in a much more comprehensive way than most books on the subject, which just analyze the final designs.

The Art of Color

In this book, the world’s foremost color theorist examines two different approaches to understanding the art of color. Subjective feelings and objective color principles are described in detail and clarified by color reproductions.

The Elements of Typographic Style

Renowned typographer and poet Robert Bringhurst brings clarity to the art of typography with this masterful style guide. Combining practical, theoretical, and historical, this book is a must for graphic artists, editors, or anyone working with the printed page using digital or traditional methods.

Having established itself as a standard in its field The Elements of Typographic Style is house manual at most American university presses, a standard university text, and a reference work in studios of designers around the world. It has been translated into italian and greek, and dutch.

Brand Identity Essentials

This book is the fourth book in the Essential series following Layout Essentials, Typography Essentials, and Packaging Essentials.

It outlines and demonstrates basic logo and branding design guidelines and rules through 100 principles including the elements of a successful graphic identity, identity programs and brand identity, and all the various strategies and elements involved.

Designing Brand Identity

From research and analysis through brand strategy, design development through application design, and identity standards through launch and governance, Designing Brand Identity, Fourth Edition offers brand managers, marketers, and designers a proven, universal five-phase process for creating and implementing effective brand identity

from Web Development & Designing http://www.designyourway.net/blog/resources/books-to-read-for-an-aspiring-graphic-designer/

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biofunmy · 5 years

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At Frieze New York, Islands of Daring

Booth C2

Bridget Donahue and LC Queisser

Booths F6, F12 and F14

Company, Bank and Very Small Fires

Booths B36 and F9

David Lewis and Antoine Ertaskiran

Booths A11, B32, C7 and D1

Foxy Production, Simone Subal, Rachel Uffner and Galerie Lelong

Booths S4, S10 and S11

Galerist, Galeri Nev and Pi Artworks

Booths B9, B10 and B20

lokal_30, Koenig & Clinton and Kate Werble

Booth F18

PM8

Frieze New York

Through May 5 at Randalls Island Park; frieze.com. Tickets are limited and only available online.

Sahred From Source link Travel

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#IFTTT #WordPress

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